Vyacheslav Ivanovich Suk (Suk, Vyacheslav) |

Suk, Vyacheslav

Mawaƙin Jama'a na RSFSR (1925). "A matsayin mawaƙin da ya fara aiki a ƙarƙashin PI Tchaikovsky da NA Rimsky-Korsakov kuma ya yi aiki tare da su, VI ya ɗauki abubuwa da yawa daga waɗannan masters. Shi da kansa ya kasance mawaki mafi mahimmanci. A matsayinsa na jagora, ya kasance mai kula da babban ilimi, wanda muke da 'yan kaɗan: a wannan yanayin kawai za'a iya kwatanta shi da Napravnik. Ya sadu da duk abubuwan da ake buƙata waɗanda za a iya gabatar da su ga jagoran babban sikelin. VI shi ne cibiyar rayuwar kiɗa na Bolshoi Theater kuma mafi girman iko: kalmarsa ita ce doka ga kowa da kowa - "in ji Vyacheslav Ivanovich."

Ba don komai ba ne M. Ippolitov-Ivanov ya kwatanta Bitch da Napravnik a cikin waɗannan kalmomi. Ma'anar ba wai kawai cewa su biyun, Czechs ta 'yan ƙasa, sun sami sabuwar ƙasa a Rasha, sun zama fitattun al'adun kiɗa na Rasha daidai. Wannan kwatancen ya dace kuma saboda rawar da Sook ya taka a cikin rayuwar gidan wasan kwaikwayo na Bolshoi yayi kama da rawar Napravnik dangane da gidan wasan kwaikwayo na St. Petersburg Mariinsky. A 1906 ya zo Bolshoi Theatre kuma ya yi aiki a can har mutuwarsa. A zahiri 'yan mintoci kaɗan kafin mutuwarsa, Vyacheslav Ivanovich ya tattauna da ma'aikatansa cikakkun bayanai game da samar da Tale of the Invisible City of Kitezh. Jagoran mai ban mamaki ya ba da sandar sabis na ba da gajiyawa ga fasaha ga sabon ƙarni na shugabannin Soviet.

Ya zo Rasha a matsayin ɗan wasan violin na solo a cikin ƙungiyar makaɗa da F. Laub daga Prague, inda ya kammala karatunsa a makarantar masu ra'ayin mazan jiya a 1879. Tun daga wannan lokacin, aikinsa a fagen kiɗan na Rasha ya fara. Babu wani abin mamaki da ya faru a cikin aikinsa. Da taurin kai da dagewa, ya cimma ayyukan da aka tsara, yana samun gogewa. Da farko, matashin mawaƙin ya yi aiki a matsayin ɗan wasan violin a ƙungiyar makaɗa ta Kyiv opera mai zaman kansa I. Ya. Setov, sa'an nan a Bolshoi Theater. Daga tsakiyar 80s, gudanar da ayyukan ya fara a cikin biranen lardin - Kharkov, Taganrog, Vilna, Minsk, Odessa, Kazan, Saratov; a Moscow, Suk yana gudanar da wasan kwaikwayo na Italiyanci Opera Association, a St. Petersburg ya jagoranci Novaya Opera mai zaman kansa. A lokacin, ya sau da yawa ya yi aiki tare da wajen rauni kungiyoyin Orchestral, amma a ko'ina ya samu gagarumin m sakamakon, boldly sabunta repertoire a kudi na gargajiya ayyukan Rasha da kuma yammacin Turai music. Har ma a wannan “lokacin lardi” Tchaikovsky ya saba da fasahar Suk, wanda ya rubuta game da shi a shekara ta 1888: “Na yi mamakin gwanintar mawaƙinsa.”

A ƙarshe, a cikin 1906, wanda ya riga ya zama mafi hikima ta gwaninta, Suk ya jagoranci gidan wasan kwaikwayo na Bolshoi, ya kai kololuwar wasan kwaikwayo a nan. Ya fara da "Aida" kuma daga baya akai-akai ya juya zuwa ga mafi kyaun kasashen waje misalan (misali, Wagner ta operas, "Carmen"); Wakokinsa na yau da kullun sun ƙunshi operas kusan hamsin. Duk da haka, an ba da tausayi maras kyau na madugu zuwa wasan opera na Rasha, kuma sama da duka Tchaikovsky da Rimsky-Korsakov. A karkashin jagorancinsa, Eugene Onegin, Sarauniyar Spades, The Snow Maiden, Sadko, May Night, The Legend of the Invisible City of Kitezh, The Golden Cockerel da sauran ƙwararrun manyan mawaƙa na Rasha an yi su a nan. Yawancinsu an fara shirya su a gidan wasan kwaikwayo na Bolshoi ta Suk.

Ya sami damar cutar da dukkan ƙungiyar masu yin wasan tare da sha'awar sa. Ya ga babban aikinsa a cikin ainihin canja wurin niyyar marubucin. Suk ya nanata sau da yawa cewa "dole ne shugaba ya zama mai fassara mai kirki ga mawaƙa, kuma ba ƙetaren suka ba wanda ke son kansa ya fi marubucin kansa sani." Kuma Suk ya yi aiki ba tare da gajiyawa ba a kan aikin, yana mai da hankali kan kowane magana, yana samun cikakkiyar fa'ida daga ƙungiyar mawaƙa, ƙungiyar mawaƙa, da mawaƙa. "Vyacheslav Ivanovich," in ji mawaƙa KA Erdeli, "ko da yaushe ya yi aiki da kowane dalla-dalla na nuances na dogon lokaci da wuya, amma a lokaci guda ya kalli bayyanar da halin gaba ɗaya. Da farko da alama cewa madugu ya zauna a kan kananan yara na dogon lokaci. Amma lokacin da aka gabatar da gabaɗayan fasaha a cikin sigar da aka gama, duka manufar da sakamakon irin wannan hanyar aikin sun bayyana. Vyacheslav Ivanovich Suk ya kasance mai farin ciki da abokantaka, mai ba da shawara na matasa. Wani yanayi na sha'awa da ƙauna ga kiɗa ya yi sarauta a gidan wasan kwaikwayo na Bolshoi."

Bayan Babban Oktoba juyin juya halin, yayin da ya ci gaba da aiki a cikin gidan wasan kwaikwayo (kuma ba kawai a cikin Bolshoi, amma kuma a cikin Stanislavsky Opera gidan wasan kwaikwayo), Suk tsari a kan wasan kwaikwayo mataki. Kuma a nan rubutun madugu ya yi fadi sosai. Bisa ga ra'ayi gaba ɗaya na mutanen zamaninsa, lu'u-lu'u na shirye-shiryensa sun kasance na karshe uku na Tchaikovsky, kuma a sama da dukan Pathetique. Kuma a cikin wakokinsa na karshe a ranar 6 ga Disamba, 1932, ya yi kade-kade na hudu da na shida na babban mawakin kasar Rasha. Suk da aminci ya yi aiki da fasahar kiɗa na Rasha, kuma bayan nasarar Oktoba ya zama ɗaya daga cikin masu himma wajen gina al'adun gurguzu na matasa.

Lit.: I. Remezov. VI Suke. M., 1933.

L. Grigoriev, J. Platek